Specialty Profiles album by John Lee Hooker was released Aug 29, 2006 on the Specialty label. John Lee Hooker recorded for many record labels during his long career. Specialty Profiles songs But this sampling of some of his Specialty sides finds him at his best, on tracks like his much-recorded "Boogie Chillen No.2," the simmering "I'm Mad," the brooding "Nothin' But Trouble," and the risque "Grinder Man." Featuring many solo cuts (the artist's idiosyncratic timing defeated most accompanists), these quality sides display Hooker in his prime.

Grinder’s third and final full-length release pretty much continues Grinder’s style of thrash, though it kind of separates itself from the first 2 albums. ‘Nothing Is Sacred’ combines the atmospheric parts of ‘Dawn for the Living’ with the more straightforward thrash aspect of ‘Dead End’…

Follows the life of a former hit TV series actor by the name of Dean Sanderson (Rob Lowe). Dean has returned to his hometown of Boise, Idaho,after years of portraying a lawyer on the fictitious television show THE GRINDER in Hollywood. His years of portraying a lawyer on television has somehow given him the idea he is actually qualified to work in and perhaps run his family's real-life law firm.

Backed by the power of Sound Grinder, Sound Grinder Pro is the Studio Monkey's secret weapon. Not only does Sound Grinder Pro™ make quick work of batch processing, but also does nifty tricks like editing waveforms, extracting audio regions and Portion Control™ without leaving the application. Oh, and this Pro also batch processes with the AU and VST plugins…clever little monkey.

Backed by the power of Sound Grinder, Sound Grinder Pro is the Studio Monkey's secret weapon. Not only does Sound Grinder Pro™ make quick work of batch processing, but also does nifty tricks like editing waveforms, extracting audio regions and Portion Control™ without leaving the application. Oh, and this Pro also batch processes with the AU and VST plugins…clever little monkey.

John Hammond's latest album marks a major departure in one respect – for the first time in anyone's memory, he sings, but plays nothing on one of his records, while Little Charlie & the Nightcats, led by guitarist Charlie Baty, handle the guitars and everything else. The difference is very subtle, the playing maybe a little less flashy than Hammond's already restrained work – think of how good Muddy Waters sounded on the early-'60s records where he sang and didn't play. And that comparison is an apt one – even more than 35 years after he started, Hammond inevitably ends up sounding like its 1961 and he's working at Chess studios in Chicago, cutting songs between Muddy Waters sessions. Harpist Rick Estrin also contributes a smooth and eminently enjoyable original amid a brace of covers of blues standards. There is not a weak number here, and this band is a kick to listen to, sounding more naturally authentic than anybody in the 1990's has a right to (Baty's quiet pyrotechnics on "Lookin' for Trouble" would make this record worth owning, even if Hammond's singing and the rest of the songs weren't as good as they are).